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explores the material properties of cinema -- film strips, sound waves, cameras, lenses.
EXAMPLE:
Serene Velocity -- zooming in and out to create a pulsing effect |
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| duration or individual shots; refers to how quickly one follows the next (diff. from pace of plot) |
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| depicts passage of time using quick sets of cuts or dissolves or wipes |
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(presumably) presents real objects, persons and events; often focuses on historical or contemporary events or topics
EXAMPLES
Supersize me: documentary on effects of a fast food diet
Life and Times of Rosie the Riveter: documentary on history (women in WWII) |
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| stands for automatic dialogue replacement -- a technique for recording dialogue in post-production (instead of direct sound) |
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| juxtaposes two images whose differences create a jarring or "shocking" effect -- do not necessarily follow logical order |
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| jarring cuts (often shock/hard cuts) associated with political films in the Soviet Union in the 1920s. |
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| genre that combines experimental and documentary film |
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| early films that documented everyday events, such as workers leaving a factory or a grocery store line. |
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| American version of French "cinema vérité": documentary style that aims to depict "real life" by getting rid of voice overs and using handheld cameras with shaky frames |
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| orientation of a shot where character's line of vision is audience's line of vision |
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| HOLLYWOOD montage that focuses on a specific theme--i.e. Citizen Kane, breakfast montage or jigsaw puzzle montage |
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abandons human figures altogether, breaks expectations on what film should be or should look like
EXAMPLE
Black ice (Brakhage, 1994_ |
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| depicts a character's reaction to something the viewer also sees or has seen |
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| musical accompaniment written for a specific film |
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| 180 degree rule (or Axis of Action) |
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Used in continuity editing for camera placement.
Two characters (or other elements) in the same scene should always have the same left/right relationship to each other. The cameras should be positioned so that the positions are not flipped.
[image] |
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| a part of the story world implied but not seen on camera |
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| A type of documentary whose purpose is to present the way of life of a culture or subculture. |
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| also called ADR. ADR is achieved by cutting several identical lengths of film and having actors record dialogue repeatedly |
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| calls into question the nature of cinematic truth |
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mental phenomenon in which viewers connect two sequential shots even if they have nothing to do with each other.
also, effect makes them derive more meaning from two shots than a single shot. |
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| dialogue that restates the obvious -- or rather, that restates what the image or action on the screen shows |
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| long shot in which the frame mimics what viewers would see if they were watching a play |
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| experimental/avant-garde film |
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| concentrates on or experiments with unconventional forms and images ranging from abstract sounds, image patterns to exploring dream worlds or hallucinations. They are not bound by conventions of narrative form. Primary goal is NOT to tell a story...they rarely do, and are all about the interpretation of images/sounds presented. |
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| often reconstructed the world to resemble a dream driven by dark desires. It poked fun at borgeouis values through form and content. Mainly focused on the unconscious. |
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| Two or more shots physically divided in one screen |
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| sound recorded on location |
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| cross-cutting/parallel editing |
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| cuts back and forth between actions in separate spaces; actions are assumed to be going on at the same time |
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| French for "cinema truth": technique known in english as direct cinema -- uses handheld cameras and gets rid of voiceovers to capture "real life situations" |
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| members of sound crew who create seemingly "natural" sounds post-production (clothes rustling, footsteps |
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| using popular music as opposed to original music as the score |
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| takes found or preexisting footage and reinterprets it in a new context to generate innovative ideas |
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| process of blending the three elements of a sound track (dialogue, music, and effects) in post-production |
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| a style associated with hollywood filmmaking of the studio and post-studio eras, in which efficient storytelling - rather than gritty realism or aesthetic innovation - is of paramount importance |
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| Five vertically integrated corporations that have greatest amount of power over film production, distribution, and exhibition: 20th century fox, mgm, paramount, WB, and RKO |
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| smaller studios that do not own distribution/exhibition rights, such as Columbia, Universal, and United Artists |
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| system initially developed for creating and promoting stars |
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| part of hollywood style guidelines that says viewers should not be confused about space, time, and events |
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| part of hollywood style guidelines that says viewers should not be confused about space, time, and events |
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| classic hollywood style: cause and effect connections are direct and complete |
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| classic hollywood style: characters are active and invite identification |
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| classic hollywood style: loose ends tied up, often in romantic way |
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| sound design that blends the speech of several characters talking simultaneously, used to create spontaneity but may confuse audience |
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| a list of rules prohibiting certain images and scenarios created near end of 1920s; ceased being enforced by mid 1960s |
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| cinema with a more serious intellectual purpose than classical style; has a more sophisticated approach |
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| influential post-war era cinema -- social and economic context defined style |
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| cinema movement stemming from Europe's newly independent former colonies. Films in the third cinema movement took on political stance that favored liberation and cultural decolonization |
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| coined by Louis Althusser -- the way in which a society creates its subjects/citizens through ideological (as opposed to repressive) state apparatuses which include education, religion, the media, and family |
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| coined by Louis Althusser -- the way in which a society creates its subjects/citizens through ideological (as opposed to repressive) state apparatuses which include education, religion, the media, and family |
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the theory that the film's technical medium (cameras, lenses, projectors) are also inherently ideological
Cinema's specific physical and mechanical attributes produce specific form of spectatorship |
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| films following apparatus theory -- they constantly remind audience that they are watching a film so that the audience is not caught up in just the story |
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| refers to the ten Hollywood writers who refused to cooperate with the house committee on un-american activities' attempts to drive out communism -- cited for contempt of congress |
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| individuals prevented from working in the film industry because of suspected communist activity |
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| films made by and for black audiences |
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| action film cycle of late 1960s and early 70s that featured bold, rebellious black characters |
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| stars (as opposed to actors) acquire public images over the course of a career; star images are constructed by studio heads, publicity outlets, talent agencies, and the stars themselves |
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| productions that deliberately show star's persona |
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| a public identity created by a star's performances, as well as press coverage, publicity, promotion, reviews, and "personal information" |
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| refers to the materials intentionally released by a studio in order to market a particular film. They often construct a star persona. |
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| stars often appeal to these, or these groups may appropriate star images. (ex Judy Garland >> Gay community: void between onscreen and offscreen ;life represents "artificiality of all-american wholeness" |
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| genre that features deserts, western landscape, land disputes, male heroes, outlaws, etc |
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| genre that often is shot in black and white; uses femme fatales, plays with darkness and shadow; often set in a city |
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| genre that produces excitement over violence (blowing things up, killing enemies. 2 main components: male heroics and over-the-top violence |
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| hard-boiled detective film |
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| film noir style focused on detective work |
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| a musical in which some musical numbers are not motivated by the narrative: characters sing and dance for an offscreen audience (Chicago, Grease) |
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| genre film that radically modifies accepted genre conventions for dramatic effect |
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| theory that proposes a director is the "author" of a film |
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| directors who have a certain style but do not necessarily make blockbuster films -- many are independent |
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| director who makes blockbuster films but also have a signature |
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| overall body of a director's work |
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| describes situation in which a few powerful companies controlled the film industry from the top down |
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| forcing exhibitions to rent a studio's less lucrative films along with sure box office successes |
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| the alignment of complimentary businesses and allowing companies to expand "across" the entertainment industry |
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| the practice of hollywood studios contracting out post-production work to individuals or other companies outside the US |
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| computer-generated actor that some speculate will replace regular actors |
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| films shot out of US for economic reasons |
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| large-budget film whose strategy is to swamp the competition through market saturation |
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| post-studio era film designed to appeal to the broadest possible audience by fusing a simple story line with major movie stars |
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| a marketing strategy of screening a blockbuster prior to general release only in premier theaters |
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| the length between the theatrical release of a film and the date it becomes available to public |
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